Parts of my identity are embedded in the pieces I created, not a portrait, but a sense of my fragmented existence.

I use my multi-disciplinary practice as a site to explore themes of intergenerational, ancestral archives and how they relate to experiences of the diaspora. I was raised in Singapore, the United States, Canada, and Hong Kong (SAR), an experience of constant migration that came to influence the subject matter and materiality in my practice. I seek to find comfort within my diasporic experience using sculptural forms to communicate identity. Imaginative creatures and dystopic, surreal environments are born from both collective and personal experiences. 

I currently work with a basketry technique called twining, which I use with synthetic and natural materials to speak towards the relationship of the ancient and the anthropocene. Basket-weaving and scent are a substantial part of my sculptures, both of which are lost techniques from the paternal side of my family. As a first generation Canadian immigrant learning traditional basketry and incense paste practices during the pandemic, the approaches I had to take were especially unorthodox. The dissemination of intergenerational knowledge, be it through “top- down” or “bottom-up” processes, leads to different methodologies and cultural perceptions as time periods change. This experience informed my commitment to addressing cross-cultural perspectives, trans-generational traumas, re-interpretations of ancient East Asian ideologies and familial knowledge.

CV